June 2012 Simon Russell Beale CBE Nickolas Grace Price 50P When Sold

President: Vice President: No. 479 - June 2012 Simon Russell Beale CBE Nickolas Grace Price 50p when sold Head over heels! James Ranger reports on Shakespeare’s Birthday Party Over 40 members and guests attended the party held at the Old Vic. We were joined by Ned Seagrove, the Stage Door Keeper, who had conducted a large number of members on a backstage tour of the Old Vic earlier in the year and entertained us with his stories of the theatre. In the last Broadsheet we published a picture of the bust of Shakespeare that we use at the party. The bust is now on loan for six months to adorn the stage set of Long Days Journey into Night at the Apollo Theatre where David Suchet is in the lead role. Members will recall David Suchet cut the cake at the Twelfth Night Party in 2009. When the bust returned for one day to the Old Vic for our party a much smaller understudy stood in for him! Nickolas Grace, our Vice-President, gave a most spirited talk before proposing the toast to the Bard. His reminiscences of the Shakespeare roles he has appeared in kept us very amused. He began by doing an athletic cartwheel before giving Puck’s opening speech from a Midsummer Nights Dream. As you can Nickolas Grace, Vice-President of the Vic-Wells Association - after his cart-wheel! see from the photo he was acting splendidly. What a trouper! As usual Ruth Jeayes and committee members organised the party superbly, providing appetising refreshments, wines and soft drinks. In all, the event was a wonderful success! Nickolas Grace plays the Master of Trinity in Chariots of Fire at the Hampstead Theatre – which transfers to the West End’s Gielgud Theatre on 22nd June. Ned Seagrove, Stage Door Keeper at the Old Vic, Maggie Willis, Joyce Parsons and other Vic-Wells Association members enjoying the party Nickolas Grace amusing Sir Peter Wright Vice-Chairman, Tim Rooke talking to Chairman, Jim Ranger and Sir Peter Wright Party photography by Nick Panagakis © Party photography by Nick Panagakis © Joyce - What are you drinking? 2 Who Guards the Guardians? Report by Richard Reavill Readers of these pages will know me as Secretary of the Vic-Wells Association, but my day-job is University Lecturer. I teach management to students at Cass Business School (City University) and supervise student projects in business studies at The School of Oriental and African Studies (University of London). A subject which continues to exercise business school academics is ‘corporate governance’, which generally means the way organizations are managed and controlled. In an article in the previous edition of The Broadsheet I made a “Many feel that Ashley brief comment on the case of Ashley Page, the Artistic Director of Scottish Ballet. Page has enhanced the repertory of Scottish Ballet Page has been shoddily by adding existing highly regarded works, for example Song of the treated by SBB” Earth seen this Autumn at Sadler’s Wells. He has choreographed new ballets, and commissioned new work from other choreographers. While not finding new masterpieces, the works have been interesting, and have provided innovation for the dancers and the audience. He has recruited new dancers and presided over a very significant improvement to the standards of dancing in the company. He has held the post for nearly a decade. However, when his contract came up for renewal next year, the Scottish Ballet Board offered Ashley Page a contract extension of only one year. Page rejected this, justifiably in my view, as it implied a lack of commitment to him. It seemed to say, “we do not want you any more, but please hold the fort for another year while we find a new Artistic Director”. The consensus in the ballet world is that Page has done an excellent job, and at this stage in his career might have sought a similar post in a larger company. Many feel that he has been shoddily treated by the Scottish Ballet Board. A pre-occupation with corporate governance, and the situation of Ashley Page, made me wonder a little about the way dance Ashley Page companies are governed. The usual arrangement is that a dance company will have a Board, often recruited from a group known colloquially as ‘the great and the good’, and much less often from those with any knowledge of dance. The duties of these boards are sometimes rather vague, but usually they are to provide general policy guidelines. Perhaps their only significant decision is to appoint an Artistic Director. They should also monitor the performance of the Director, to see that all is going well in line with the established policy. They may also appoint an Administrative Director to look after the money and administration, thereby freeing the Artistic Director to concentrate on the repertory, performance, dancing standards, etc. The UK differs from the USA in this respect, as there the duties of the Board include raising money, much of it from their own pockets, as readers of Michael Kaiser’s book, The Art of the Turnaround will be aware. From this brief analysis, it might appear that the most important function of a dance company board is the hiring (or firing) of the Artistic Director. Since this happens a couple of times per decade it could be regarded as a modest work-load, but it is a major decision and critical for the future of the company concerned. Despite this, the record of such decisions in the UK is inconsistent. At the Royal Opera House, a decision was made to appoint Ross Stretton to direct the Royal Ballet. When it became apparent to the authorities that he was a disaster, (rather later than it was obvious to everyone else), he was dismissed. Appointment of Monica Mason as Acting Director was a ‘quick fix’, and her subsequent permanent appointment and re-appointment required no great skill as she was obviously the best person for the job. Her performance in the role has been widely praised. However, looking back at the past record of the administration at Covent Garden, there was the almost catastrophic performance by the Opera House Board at the time of the Redevelopment Project in the last 1990s. The ROH is now very well managed, but is this because the Board has more competent members, or is it 3 because the Board is now a Board of Trustees, and more remote from day-to-day operations than previously, or is it because they have appointed very able senior staff, for example Michael Kaiser, Tony Hall, Monica Mason, and Antonio Pappano? Birmingham Royal Ballet Board has made no mistakes, “Conspiracy theorists abound” but they only had one such decision to make in nearly three decades. The company arrived in Birmingham from Sadler’s Wells with Sir Peter Wright at the helm. When he retired, appointing David Bintley was something of a ‘no-brainer’. Like Monica Mason, he was the obvious choice, and has done an excellent job. Stability has been provided by the Rambert Board, with two directors in the past two decades, Christopher Bruce followed by Mark Baldwin. At Northern Ballet, the current director David Nixon has been in post for ten years. There have been many changes at English National Ballet: Peter Shaufuss was fired, and allegedly escorted from the building on the orders of the Chairman. The next incumbent was Derek Deane, who departed rather suddenly. He was followed by Matts Skoog, who also left suddenly. Credible explanations were not available in either case. The current incumbent is Wayne Eagling, who experienced an unexpected departure from his previous job directing the Dutch National Ballet, although his performance in that role was well regarded. It was announced in March that Eagling was leaving at the end of the season, another sudden and unexplained departure. A new Artistic Director, (Tamara Rojo from the Royal Ballet), has been recruited in a hurry. The short time-scale and minimal advertising for the vacant post has caused concern, and conspiracy theorists have suggested that the ENB Board had already decided on a preferred candidate. So we have something of a mixed bag of results in terms of the performance of the boards of dance companies, with perhaps more incidence of poor or precipitate selection and directors falling out with their boards than seems desirable. Of course, it takes two to quarrel, so it is difficult for outsiders to determine who is to blame when a falling-out occurs. Page has made it clear that he wanted to stay with Scottish Ballet, and would accept a 3 or 5 year extension of his contract. The Scottish Ballet Board offered only a one year Tamara Rojo extension. When this was rejected, the Board issued a weasel- worded statement saying that it had been unable to agree terms with him. Peter Mandelson would have been proud of that piece of ‘spin’, but it does the Board no credit. Maybe the boards believe that an Artistic Director should serve only a limited term, and that a new person at the helm can stimulate a company. Certainly there will be little support for the idea that the job should be a life-time appointment. If a Board does not wish to extend the contract of a successful Director who is willing to continue in the post, it should have the courage and the courtesy to publish a justification. Not to do so looks mean and underhand. Who are the members of the Boards of UK dance companies? How are they appointed and by whom? To what extent are they representative of the stakeholders of dance in the UK? I will suggest some possible answers to those questions in the next Broadsheet.

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